Displaying items by tag: Brenda Didier

Kokandy Productions’ Jekyll & Hyde, now presented by Broadway In Chicago at the Broadway Playhouse, arrives with the momentum of a bona fide Chicago phenomenon. After its run at Chopin Theatre was extended again and again - an almost unheard of feat for an intimate, homegrown musical - the show has now been picked up for a full commercial engagement, marking a major leap for the company and a testament to the production’s electric word of mouth. It is worth noting just how rare this is: Broadway In Chicago almost never transfers storefront productions, making this pickup one of the most significant Chicago theatre success stories in recent memory. Conceived for the stage by Steve Cuden and Frank Wildhorn, this staging proves how a storefront success can scale beautifully without losing its bite.

This reimagined take on The Strange Case of Dr. Jekyll and Mr. Hyde, drawn from Robert Louis Stevenson’s classic story, uses Leslie Bricusse’s book and lyrics to follow Dr. Jekyll, a brilliant yet splintering scientist whose compassion fuels his most dangerous ideas. He turns to self‑improvement experiments - attempting to isolate and remove the darker impulses that plague human behavior. Only after the town council votes down his proposal to move forward does Jekyll test his theories on himself, unleashing a violent alter ego - Mr. Hyde - that refuses to stay contained and seeks revenge on those who dismissed his ideas as reckless.

While Jekyll’s experiments drive the plot, the production grounds his unraveling in two sharply drawn relationships: his earnest, hopeful romance with Emma and his complicated, magnetic connection with Lucy. Emma represents the future he’s desperate to protect, while Lucy embodies the vulnerability and desire he can’t fully control. Together, they give the story its emotional spine, showing how Jekyll’s transformation fractures not just his identity, but the lives of the women who care for him.

Kokandy dives into the duality with sharp humor, vivid theatricality, and a pulsing score that turns the transformation into both a spectacle and a psychological spiral. As Jekyll’s world cracks - friends endangered, morality blurred, identity slipping - the production keeps the tension taut, balancing gothic thrills with a surprisingly human core.

(center) David Moreland and the cast of Kokandy Productions’ production of Jekyll & Hyde.

What makes this staging stand out is its inventiveness: clever staging, bold physicality, and a cast that commits fully to the grotesque and the gorgeous – and, wow, can they sing. It’s no surprise audiences kept returning at Chopin, pushing the run far past its original closing date. That groundswell of audience demand is precisely what caught Broadway In Chicago’s attention - a level of traction strong enough to propel a storefront musical into a full commercial engagement. Seeing it now elevated to the Broadway Playhouse feels like the rare occasion when Chicago’s storefront originality gets the larger platform it deserves. In fact, upon entering, guests are handed stickers to mark how many times they’ve seen the show. Whether it’s their first visit or their seventh - the highest number I spotted - theatergoers wear it proudly, a small but telling sign of the cult‑like enthusiasm surrounding this production.

Directed by Producing Artistic Director Derek Van Barham, this production thrives on a razor‑sharp sense of style and drive. Van Barham shapes Jekyll & Hyde with the confidence of someone who knows exactly how to blend horror and heart into one seamless theatrical rhythm. A kinetic drive and deft wit run through the score thanks to Nick Sula’s music direction, ensuring crisp transitions and character‑focused vocal work. With a rare 15‑piece live orchestra on stage, the production’s musical power hits with a fullness and immediacy that elevates every passage. Brenda Didier’s choreography is the secret weapon — precise, playful, and radiating personality, it turns the show’s physicality into storytelling and amplifies the divide at the center of Jekyll’s collapse.

Kokandy’s ensemble fires on all cylinders, creating a production that feels both wickedly fun and sharply realized. David Moreland anchors the show with a riveting, shape‑shifting performance as Dr. Henry Jekyll and Mr. Edward Hyde, his vocal work and physical transformations giving the story its ferocious pulse. Moreland delivers a performance of remarkable physical and emotional intensity, one that stands out among the strongest I’ve seen. With visceral depth and vocal heat, Ava Lane Stovall shapes Lucy Harris into a woman suspended between danger and desire, her performance threading vulnerability through every moment of volatility. She makes Lucy’s internal tug of war feel immediate, giving the role a current that’s both seductive and unsettling. Meanwhile, Emily McCormick’s Emma Carew delivers a beautifully grounded counterbalance, her warm, expressive songs reinforcing the production’s moral center and offering the steadiness Jekyll’s world so desperately lacks.

(center) Ava Lane Stovall with (left to right) Quinn Kelch and Ismael Garcia and (below) Quinn Simmons in Kokandy Productions’ production of Jekyll & Hyde.

As Simon Stride and Spider, Quinn Kech moves effortlessly between clipped propriety and feral swagger, pairing sharp character work with vocals that cut cleanly through the score. A steady moral throughline comes through in Kevin Webb’s Gabriel John Utterson, his warm baritone and grounded presence giving the story its emotional ballast. Nathan Calaranan brings a dignified, resonant authority to Sir Danvers Carew, shaping each turn with clarity and restraint. Around them, the ensemble meets the material with full‑throated commitment - singing with power, acting with specificity, and charging every scene with the kind of collective intensity that makes this production feel larger than its footprint. Led by Jeff Award winners Moreland, Stovall, and McCormick, the ensemble’s collective impact makes this Dr. Jekyll & Mr. Hyde feel vividly, thrillingly alive. The extended applause throughout the night were frequent and fully deserved.

The reimagined score is one of the production’s greatest triumphs, built on Frank Wildhorn’s music, yet reshaped into something leaner, sharper, and far more theatrical. Kim Scharnberg’s orchestrations give the music its dark, muscular edge, while Jason Howland’s arrangements sharpen its modern undercurrent. The orchestrations feel slyly contemporary and richly atmospheric, giving the story a sonic identity that matches Kokandy’s confident staging. Sula ensures every number lands with intention, whether it’s a brooding solo that tightens like a vice or an explosive ensemble sequence that floods the stage with adrenaline. And the vocal performances? They’re extraordinary – out of this world, presented with a clarity and force that elevate every musical moment.

The set evokes the grit and pressure of 1880s London without ever changing, a circular playing space with elevated risers that let the cast surround the action and heighten every moment of tension. Scenic designer Sotirios Livaditis, U.S.A., builds a world that’s intentionally fixed yet remarkably flexible, giving the ensemble multiple levels and angles to push the story forward. G. “Max” Maxin IV’s lighting and Matt Reich’s sound design sharpen that sense of immersion, shaping mood, focus, and dramatic impact from scene to scene. This talented design team gives us a unified environment that feels alive in its stillness - a single space that transforms through performance rather than mechanics.

Jekyll & Hyde comes highly recommended, not only for its inventive reworking but for the sheer theatrical command Kokandy brings to the Broadway Playhouse stage. Presented by Broadway In Chicago, the production (already extended) runs through November 8, 2026 at the Broadway Playhouse at Water Tower Place, with a runtime of 2 hours and 35 minutes including an intermission. It’s a bold, stylish, and wildly entertaining take on a classic tale - one that proves Kokandy’s storefront artistry can thrive beautifully on a commercial stage. I walked away from this production genuinely amazed, struck by how fully Kokandy has transformed a familiar title into something fresh, fearless, and alive. It’s a milestone not just for Kokandy, but for Chicago theatre itself - a reminder that the city’s most daring work can rise all the way to the downtown marquee.

https://www.broadwayinchicago.com/shows/jekyll-hyde/

‘Jersey Boys’ is back in Chicago, bringing with it a little East Coast to the Third Coast. The hit Broadway musical about the lives of Frankie Valli & the Four Seasons played for over two years in the mid-00s at the CIBC Theater and helped establish Broadway in Chicago as more than just an importer of touring shows. Now ‘Jersey Boys’ will see another open-ended run at Mercury Theater.

Believe it or not, there was once a time when biographic, jukebox musicals were novel. While ‘Jersey Boys’ certainly wasn’t the first, it was one of the earliest and arguably better than some of the shlocky stuff plaguing Broadway these days. Digression aside, the music of Frankie Valli & the Four Seasons effortlessly lends itself to musical theater. Afterall, Frankie Valli did provide the title track for the film version of ‘Grease’. 

Co-directed by L. Walter Stearns and Brenda Didier, this production is every bit as good as the Broadway in Chicago sit-down. Mercury’s revival scrubs off all that Broadway gloss and presents a grittier, if not more authentic version of this Italian-American flavored drama. Is it family friendly? Sure, if you don’t mind the ubiquitous use of the F-word akin to the mob wife aesthetic of ‘The Soprano’s’. 

Though Frankie Valli was the frontman and eventual breakout star of The Four Seasons, their origin story is told equally from all four players. However, Adrian Aguilar as Tommy DeVito commands the stage as the main narrator.

Few grown men can hit the notes Frankie Valli was capable of, but Michael Metcalf does so with seeming ease. To look at him (or hear his speaking voice), you’d never expect he could go that high, but that and his performance as an actor showcase what a multi-purpose talent he is.

‘Jersey Boys’ doesn’t often address the personal lives of the band members, but instead tells the story of how they came to be, their rise to fame, and all that comes with it. However, it’s not empty in the way that so many of these jukebox musicals end up being. That’s likely due to a book co-written by Marshall Brickman, who helped write some of Woody Allen’s most iconic films (‘Annie Hall’, ‘Manhattan’), and Tony Award winner Rick Elice. Brickman writes from a place of personal experience as he was working in the entertainment business around the same time as the head writer for Johnny Carson. The result is a really fun, ‘VH1 Behind the Music’ of Frankie Valli & the Four Seasons.

Though Frankie Valli and the Four Seasons made bubblegum pop, their story is far from saccharine. What’s surprising about this story, and the likes of the Rat Pack, is how intertwined their successes were with organized crime. The title says it all. There’s something about this show that non-musical people will find really appealing, in the same way ‘Grease’ appeals to nearly everyone.

Wonderful performances, hot choreo, great costumes and a full-blast band make ‘Jersey Boys’ at Mercury a heavy hitter for the Wrigleyville theater company. You’ll be clapping in unison by the end (whether you want to or not).

at Mercury Theater. 3745 N. Southport Avenue. 773-360-7365

*extended through July 28th

Fifteen years ago, boy band flavored ‘Spring Awakening’ took Broadway by storm. Promises of on-stage teen sex had lines wrapped around the block. Broadway blockbusters can be hard to predict, but typically breakout hits are shows that transcend the boundaries of traditional musical theatre. With a pop rock soundtrack by Duncan Sheik and sultry staging, ‘Spring Awakening’ connected to a broader audience.

Porchlight Music Theatre concludes their season with ‘Spring Awakening’ directed and choreographed by Brenda Didier. ‘Spring Awakening’ has become one of the most produced shows in the US, but Porchlight’s production feels like a discovery. While the staging and costumes are faithful to the original production, this version is full of bright young energy.

‘Spring Awakening’ is based on the 1891 German play by Frank Wedekind. The play shocked audiences and was quickly banned. The musical written by Steven Sater is a conceptual reinterpretation that combines modern elements of rock music with the classic story of sexual realization in repressive times.

The main story follows school children, Wendla (Maya Lou Hlava), Melchoir (Jack Decesare) and Moritz (Quinn Kelch). Each are naturally preoccupied with sex as they go through puberty. They implore their teachers and parents to be honest with them about sex, but the adults are uncomfortable speaking frankly about sex. Romance blooms between Melchoir and Wendla but Moritz struggles with his mixed-up feelings about sexuality. Through kicky ensemble-driven songs, many other angsty ideas are unpacked including themes of abuse and homosexuality.

‘Spring Awakening’ is an ensemble musical. With music direction by Justin Akira Kono, the music is the focal point. Hair-raising harmonies paired with inventive choreography make even the most unpleasant lyrical content as digestible as candy. The live band on stage gives this show a gritty rock sound that makes it impossible not to nod along.

There are many dark topics covered in this rock musical, but the staging and ensemble work make this show a lot of fun. Lighting design by Patrick Chan and scenic design by Christopher Rhoton lend themselves to the disco-ish vibe of the music. Chic costumes by Bill Morey help make this production sleek and stylish.

This is a strong cast. Though most of the characters aren’t fully developed on the page, company members make their characters distinct. Perhaps the most vivid performance comes from Tiffany T. Taylor as Ilse. Her voice rises to the top of the stirring finale, ‘The Song of Purple Summer’.

Not every popular musical ages well. ‘Spring Awakening’ can be one of those shows that when done badly is hard to sit through. Conversely when it’s done well, as is the case with Porchlight’s production, it’s not hard to see why this show swept the Tonys. Those who are returning to ‘Spring Awakening’ will be just as titillated by the staging. What shines through this production is the genuine sense of not only pathos, but enthusiasm from this talented young cast. Very little feels trite or cliché in this exciting new production.

Through June 2 at Porchlight Music Theatre at Ruth Page Center for the Arts. 1016 N Dearborn St. www.porchlightmusictheatre.org

The first time I saw ‘A Chorus Line’ was when I worked backstage for a touring production while I was in college. Perhaps it was my youth, or perhaps it was the fact that I was in the midst of the hustle and bustle of the fit and fabulous cast, but at the time, the show struck me as one of optimism and youthful energy. But all these years later, Porchlight Theatre’s current — and fantastic — production Michael Bennett’s classic look at the often-anonymous dancers on Broadway’s stages held a much different meaning for me. Instead of just being wowed by the performers’ talents, I really understood their pain and the lives they’ve lived on said stages — in the words of the number “At the Ballet”: “It wasn’t paradise, but it was home.”

I realized that part of that is the brilliance of the show, itself — that it acts every bit as its famed mirror backdrop, reflecting the audience members’ experiences and baggage back at them. But this depth also comes from this brilliant cast and their brilliant performances brilliantly directed by Brenda Didier. Of course, the talent is youthful and top-notch, as it must be for such a classic show. Christopher Chase Carter’s choreography populates the stage and pleases the eye, while the music propels things, thanks to Linda Madonia’s direction. Matthew Weidenbener gets things going with Mike’s Vaudevillian number, “I Can Do That.” Ayana Strutz’s Connie Wong confidently struts and fills the stage despite her diminutive stature. Terrell Armstrong’s Richie wows with his acrobatic dancing. While the show’s one about dancers, not singers, much of the cast has pipes aplenty — Taylor Lane and Aalon Smith’s vocals stood out, and Grant Carriker’s and Chloe Nadon-Enriquez’s married duet “Sing!” was flawless (although Nadon-Enriquez’s Kristine is not supposed to be able to sing). As far as vocals go, Adrienne Velasco-Storrs’ Diana got the show’s two big opportunities to sing — Marvin Hamlisch’s standards “Nothing” and “What I Did for Love” showed that she can sing and brought the house down, as they’re supposed to do.

But, again, it was the sadness, the weariness, and the experience that shone through to this weary and experienced version of me who attended this version of ‘A Chorus Line,’ and that was as much thanks to the performers’ take on the material as the material itself. Of course, Paul’s iconic monologue, here delivered with all the feeling one would expect by Alejandro Fonseca, manufactures emotion. But Erica Evans’ world-weary Sheila, looking for one last shot on the line, provides those same feels from start to finish; I couldn’t take my eyes off of her. Natalie Welch’s Val also draws the eye, even before her showstopper “Dance: Ten; Looks: Three,” although Welch’s age is a bit on the young side for the veteran Val. But while Val’s at last got the “it” she needed to succeed and Sheila laments the “it” that once made her successful, both of these actresses definitely have “it.”

But the real It Girl in this show is Laura Savage’s Cassie. The red dress draws the eye, of course, as does her constant backstory back-and-forth with director Zach, given both authority and empathy by Richard Strimer. But it’s the mix of confidence and brokenness that Savage brings to the role that did it. Only after the show did I learn that Savage, during last year’s Marriott Theatre production of Newsies in which she dazzled with her dancing, seriously injured herself, and has only at last recovered enough to lead this production. But lead it she does, shining as the starlet who’s looking to start back at the beginning, and who’s looking at herself in that mirror she sings about. And it is Savage’s Cassie, I guess, that spoke to me the loudest and most longingly, that gave this show the depth it was meant to have, and that most brightly shined, to myself and the rest of the audience, during this breathless, breathtaking, and unbeatable take on a timeless Broadway tale.

Through May 31st at Ruth Page Center for the Arts.

It seems strange to me that after all my years of writing theater reviews I have never seen "Forever Plaid". I am now one of the lucky ones to have seen this marvelous production of the hit show written by Stuart Ross at Theater at The Center with this "over the top" talented cast.

"Forever Plaid" is a tribute to the early American boy bands, the quartets like The Four Freshman, The Four Seasons and The Four Aces.  During that period audiences were wowed by the smooth moves and exquisite harmonies of the singers. 

In “Forever Plaid,” we find four young men with big dreams of their own who are played to perfection - Sparky (Matt Edmonds), Leader Francis (Adam LaSalle), Smudge (Christopher Ratliff), and Jinx (Yando Lopez).

Unfortunately, on their climb to fame their young lives are cut short when they are all killed in a motor accident on their way to a gig (their car being hit by a school bus of girls on their way to see The Beatles) and end up "singing for the Angels" or in this case, for us, their 'one night only' earthly audience members. 

The talented cast come to harmonious life brilliantly in such memorable and romantic songs as “Three Coins in The Fountain”, “Moments to Remember”, “No Not Much”, “Catch A Falling Star” and “Love Is A Many Splendored Thing."

I don't want my arms around you, no, not much
I don't bless the day I found you, no, not much
I don't need you like the stars don't need the sky
I won't love you longer than the day I die
You don't please me when you squeeze me, no, not much
My heads the lightest from your very slightest touch
Baby, if you ever go, could I take it maybe so
Oh, but would I like it, no, not much

The really intriguing aspect of this entertaining production is the way it is directed by Brenda Didier who was previously a choreographer. Didier directs this fabulous foursome of voices in such a way that their every move, their every hand gesture or look, at the audience or each other is also interpreted by their bodies, hands and eyes.  The movement value that Didier adds to this show has a remarkable effect on the audience when each harmony, each word and each sentiment of these beautiful classic lyrics come back to life (pardon the pun) and demonstrate just how amazing these harmonies are and how complex musically the quartets must devote themselves to each note. It is absolutely hypnotic!  

The thing I really love about this story is that Stuart Ross allows the four young men in the show express a little bit of their sadness at having their lives and road to stardom cut short but then as they recall their memories of long days of rehearsing, carefully choosing a name and costumes, early gigs gone wrong and one performance for a real superstar at the time, they realize that they really did achieve something with their short semi-professional careers - something wonderful they would have missed if they had never tried. It is interesting and still meaningful to performers today who may perform their whole lives and never achieve fame or stardom that a chance encounter with one true celebrity star, ends up being the crown jewel in their memory bank of validation as singers.

Perry Como is passing through their town (by chance or destiny?) on the night of one their gigs and Sparky, played with incredible vocal range and perfect comic timing by Edmonds, steals a portion of Como's broken-down vehicle so that he can invite Perry Como to their gig that night. They sing "Catch a Falling Star" in honor of Perry Como and Perry is so impressed he gives them his "golden" monogrammed cardigan as a parting gift - which the four treasure and enshrine literally forever! 

Catch a falling star and put it in your pocket
Never let it fade away
Catch a falling star and put it in your pocket
Save it for a rainy day
For love may come and tap you on the shoulder some starless night
Just in case you feel you want to hold her
You'll have a pocketful of starlight

Edmonds, LaSalle, Ratliff and Lopez light up the stage as the plaid-obsessed Forever Plaid quartet with their impressive harmonies and a wealth of well-executed humor. The foursome performs in front of a three-piece band, really putting all the pieces in place for an all-around entertaining show.

I highly recommend this funny and cheerful gem of a show for anyone who enjoys hearing superbly delivered classic songs and appreciates well-timed humor. Didier's choreography brings fresh life to each classic and perfectly showcases in new detail the amazingly talented quartet assembled for this show. 

“Forever Plaid” is being performed at Theater at the Center in Munster, Indiana through June 3rd. To purchase the revue’s very reasonable tickets at $42-$46 or to find out more show information visit www.theateratthecenter.com.

Tribute shows are generally as good as the performers that star. I probably just stated the most obvious fact on the planet. Yet it’s so very true. No matter how good the song selection, the costumes, the set, it is the vocal performance that we bring home with us. In “My Way: A Musical Tribute to Frank Sinatra” a different taste of Sinatra is delivered; rather than presenting an Ol’ Blue Eyes impersonator, we are invited to a 1960’s club setting where four actors casually reminisce with the audience over more than fifty Sinatra favorites. 

The musical revue, rich in its depicted era, stars George Keating, Christine Mild, Eric A. Lewis and McKinley Carter, each taking turns riffing through classics like “Makin’ Whoopee”, “Fly Me to the Moon”, “The Best is Yet to Come”, “Young at Heart”, and “It was a Very Good Year” – the songs are countless. The four have made their mark in the Chicago theatre scene, Lewis a Jeff Award Winner for his work in Porchlight Music Theatre’s “Dreamgirls”, Mild, who not only starred in Theater at the Center’s “Pump Boys and Dinettes” but who has recently released her debut solo album “Love Is Everything”, Carter, who has done work in prestigious venues such as Writers Theatre and Drury Lane Oakbrook, and Keating, who not only has been featured in Disney’s “The Little Mermaid” at Paramount Theater, but is the co-founder of the very popular Chicago and Off-Broadway hit “Schoolhouse Rock Live”. 

The four actors work well together as snippets of Sinatra songs are often worked into light exchanges between the characters. They gracefully glide around the stage and upon the stairways often pairing elegantly for dance routines. Often, the characters might be seen having a drink at the bar or nonchalantly interacting at a table, setting a relaxed night-out-on-the-town mood. Throughout the show, Sinatra factoids and quotes are tossed about during song breaks, allowing at times for the audience to participate. The club centers around a bar, where a live band simplified to piano (William Underwood), bass (Jake Saleh) and drums (Nick Anderson) plays directly behind it. Despite the small size of the outfit, the sound is big and the musicians ever-impressive, each getting to show their skills off a bit while briefly featured individually in the second act. 

While perhaps wishing for a little more "oomph" overall in the individual vocal performances (mainly on the lower notes) ala Sinatra, each of the performers have their shining moments and are able to deliver the songs with their intended pizzazz and vigor. But the magic in this show is when the four would sing together, whether it be a duet or a four-part harmony. It is with these synchronized vocal efforts one easily loses themselves in the beauty of Sinatra’s work. 

Brenda Didier both directs and choreographs this fascinating piece with a stylish aplomb that captures the charm of the period so very well. Lewis particularly stands out during his renditions of “My Kind of Town” and “I’m Gonna Live ‘Til I Die”, while Keating finishes strong with a fervent version of “That’s Life”. The production flows at a nice pace and is a pleasing homage to Sinatra, though we are often teased with a song segment left wanting to hear the piece in its entirety. This is countered by the fact that we are given such a vast collection of the music Sinatra made famous. The show ties together well eventually leading us to an expressive interpretation of perhaps Sinatra’s most timeless classic, “My Way”, commendably performed by the entire cast. 

“My Way: A Musical Tribute to Frank Sinatra” is a time capsule that will certainly touch the hearts of “Chairman of the Board” fans, but is equipped with enough nostalgia, panache and musical talent to please even the most curious. This polished production is being performed at Theater at the Center in Munster, IN through March 19th. Click here for tickets and/or more show information.   

While not explicitly a biography about The Supremes, "Dreamgirls" is awfully close. It's a Quincy Jones-flavored musical about the road to fame, and the pitfalls of show business. Porchlight Theatre concludes its season with a rarely produced modern classic. Choreographed and directed by Brenda Didier, with musical direction by Doug Peck, "Dreamgirls" is a delight. 

"Dreamgirls" is really one of the first musicals about the early days of rock 'n roll. Though it's about more than just the rise of the "girl group" in popular music. The book by Tom Eyen uses a familiar story to illustrate how mainstream music helped open minds about race in America. The original Broadway production opened in 1981 and ran for four years. It has since been adapted into an Oscar-nominated film. 

Porchlight has assembled an all-star cast for this production. Particularly Donica Lynn as Effy. The three Dreams fill the rafters with soaring vocals. While Lynn may be the voice, Candace C. Edwards and Katherine Thomas as co-Dreams, turn in strong performances as well. Eric Lewis is electrifying in the role of fictional soul legend Jimmy Early. His numbers are thrilling.  

Didier's vision for this show is vivid. Her choreography is high-energy and visually pleasing throughout. Peck's musical direction proves a high point as well. It's not often you find yourself thinking about the band in a theatrical performance - but the wall of sound coming from this pit is a funky good time. Rounding out aesthetics are Bill Morey's costumes, which are well conceived and provide an extra layer of authenticity. 

Porchlight Music Theatre turns out another gem at Stage 773. "Dreamgirls" is a feast for the eyes and ears. Shows like "The Wiz" and "Dreamgirls" aren't produced nearly as often as they should be, which makes this impressive production all the more rare. The vocals are so good you'll wish you could take the soundtrack home with you. 

Through May 22nd at Stage 773. 1225 W Belmont Ave. 773-327-5252